The scene has all the hallmarks of the first day of school: hellos and hugs and calls of “How was your summer?” amidst the clang of lockers being opened.

This is the backstage of Roy Thomson Hall as the Toronto Symphony Orchestra prepares to launch its 91st season with guest violinist James Ehnes, Sept. 20 and Sept. 22.

In bounds music director Peter Oundjian, who arrived here in 2004 to a financially wounded organization. Since then, he's hired more than a third of the 90-member orchestra, launched a successful New Creations festival, recorded numerous albums and filled the halls with younger audiences.

The sporty violinist who was born in Canada, grew up in England and made a name for himself with the Tokyo Quartet has charmed the TSO with his generous spirit, musical skill and sense of showmanship, those around him say.

“There's always been this balancing act between striving for excellence and creating a nice environment,” says Oundjian, wiping the sweat off his brow at the mid-morning rehearsal break.

“I want to craft a pleasant atmosphere in the workplace.”

How does he do this?

Well, first he hugs newcomer Shane Kim, a violinist who was Oundjian's student at Yale University. It is the Toronto native's first day with the symphony and the two meet in the parking lot as Oundjian arrives in his “Maple Leaf-blue” Volvo.

(When his children came to Toronto from a tiny town in Connecticut, they quickly discovered the national obsession was hockey. Oundjian is a Leafs fan but also cheers for the Chicago Blackhawks because a cousin plays for them.)

Next, there are hugs and hellos for all in the hallways, whether staff or musicians. He has a special welcome for newlywed Teng Li, 30, whom he hired when she was only 21. Li, who plays viola, was married in early September and Oundjian flew from conducting an afternoon concert in the U.S. to the wedding at the Weston Golf Club.

“At dinner I saw him sneaking in the back,” says Li. “It meant so much to us. He tried so hard to witness our wedding.”

Finally, there's Oundjian's quest for musical excellence, which has drawn artists to Toronto under his persistent wooing.

Principal trumpet Andrew McCandless had fled the TSO in 2002 when it was suffering from financial and leadership troubles. He was playing with the Dallas Symphony Orchestra when Oundjian arrived for a week of guest conducting.

“We played tennis all week,” says McCandless. “He's a good athlete.”

Oundjian's also a good negotiator, says McCandless, who returned in 2004. “Peter's very charming; he talked me into it. I missed the city. He's just a big ambassador.”

And, Oundjian's experience as a chamber musician (he played for 14 years with the Tokyo Quartet) means he's used to working collaboratively with musicians, says McCandless.

“We all play together. Rehearsals can be fun.”

Oundjian shows his respect for musicians during the rehearsal of John Adams' Harmonielehre when repeating a section of trumpet music proves too much for the musician's lips. McCandless raises his hand and says, “Enough.”

(Oundjian says later he wouldn't want to “blow someone's lip before the season has even started.”)

As Oundjian leads the first rehearsal, the Adams piece is played all the way through first. It is a vigorous piece and Oundjian — who waves his arms like wings, points them like daggers and raises them to the ceiling while bouncing and swinging his whole body — is visibly panting at its conclusion.

He has eaten a light breakfast of prosciutto and cheese with coffee, orange juice and water as part of his gluten-free diet, which is his usual routine. Usually he wears running shoes to reduce wear and tear on his legs over the three-hour rehearsal marathon.

Oundjian splits his time between his Annex home in Toronto and his Connecticut home, where he swims daily. “I like all the seasons, but I would still like to swim outside every day,” he says.

In the audience, the new affiliate conductor, Shalom Bard, makes notes on the score and Oundjian frequently turns to him for comment. Shalom will be conducting the Toronto Symphony Youth Orchestra, with which he once played, and is assisting Oundjian at rehearsals.

Assisting onstage is concertmaster Jonathan Crow, a 6-foot-4 violinist who towers over Oundjian.

“He wants everyone to listen, to play together as an ensemble, cohesively,” says Crow. “He has a generous style.”

It was this element of the TSO that enticed Crow to move his family from Montreal, he says.

When people think of the TSO, it is Oundjian's persona that shines, says CEO Andrew Shaw, who hired him partly because he was a skilled and famous musician.

“Peter stood out in my mind,” says Shaw. “Music is in his bones. He is fresh, entertaining and engaged.”

And most importantly, “He has that sense of theatre.”

After all, this isn't school, it's show business.

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